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Feist has a powerful voice. Whilst she clearly has the capacity to belt every word out at the top of her lungs à laFlorence and the Machine, in most of her songs she opts, rather, to sing softly and amplify her vocal recordings, resulting in a notably textured, dynamic and emotive vocal sound.

Feist also plays her dynamics well, oscillating swiftly between bare vocals backed by subtle acoustic guitar and the fuller sound created by prominent vocal harmonies in “The Circle married the Line”, and the final minute and a half of “Undiscovered First” – shouted boisterously over a strong, forceful percussion track – contributes to the entire album as a dynamical outlier, adding more sensitivity by comparison to tracks like “Cicadas and Gulls”.

In addition to emotively-harnessed vocals and skillful work with dynamics, Feist’s music is richly instrumentally-layered. “The Bad in Each Other” – strongly folk-influenced and garbed in wise, true lyrics – exemplifies this, and “Anti Pioneer”, interwoven with Jazz and Blues, displays an ear for tiny but memorable details in the soft, shrouded however poignant piano part that comes into it towards the end.

Feist’s music is excellently finished in terms of its instrumental composition, its dynamics, and of course the rare level of sensitivity in Feist’s vocals.